Who could have foreseen that God of War, a series built on the shoulders of a character defined by his campaign to ruthlessly murder the pantheon of Greek gods, would be the same series to deliver a thoughtful exploration of fatherhood? But that is exactly what Sony Santa Monica’s 2018 reboot of the franchise did, and it’s just one facet of a game that was exemplary in so many ways. From its cinematic presentation, jaw-dropping scale, and stirring orchestral soundtrack to its intense combat, fulfilling exploration, and robust role-playing systems, God of War revived the dormant series and made it a gold standard for cinematic storytelling in video games.
Naturally, this leaves developer Sony Santa Monica in an unenviable position when creating a sequel. How does the studio take a meaningful step forward from an experience that is critically acclaimed and beloved by millions without faltering? The answer to this, and whether the studio has been successful, remains to be seen, but based on my time with the first few hours of God of War Ragnarok, early impressions are good.
In many ways, Ragnarok is familiar; thus far, there are no major changes, additions, or subtractions that upend the way it feels or plays. That might not sound terribly exciting for those seeking a transformative experience on the same level as the previous game. However, the intent is clearly to ensure there is consistency and cohesion between the two. It might seem stupid to point out this is a sequel that feels like an extension of its predecessor, but given the time between releases, there was a real chance there could have been drastic distinctions between the two. It happens a lot–for various reasons–and you only have to look at the disparities between The Last of Us and The Last of Us Part 2 to see the impact that can have. The long and short of it is that I very comfortably slipped back into playing the game. But far from being disappointed by this familiarity, I actually found it helpful in getting immersed in the world of God of War again.